This is the final chat with Scooter Mann as co host. He's still going to help out from time to time though!

157 -  ADPP scooters send off

Austin and Matthew talk about a new direction, and Matthew teaches Austin a couple tricks in reaper.

156 - ADPP sort of a new direction

Matthew Boudreau

155 - ADPP update from Matthew Boudreau

Jessica Rainville

In this episode, Austin has a chat with Jessica Rainville creator of Chris an audio drama inspired by a real cold case

154 - Jessica Rainville and Turning Nonfiction into Fiction

Sean Howard

In this episode Sean Howard, co-creator of Alba Salix, Axe and Crown, and The End Of Time And Other Bothers gives us a breakdown on the success of their Patreon Growth.

153 - Sean Howard and Patreon Growth

Ele Matelan

Scooter Mann and Wildclaw Theatre's Ele Matelan talk scriptcrafting for sound!  Vocal exercises and a new host!

152 - Ele Matelan and Writing for Audio

Jay Cohen

Scooter and Austin Chat with Steven Jay Cohen of Spoken Realms Audio about contracts, business, and so much more!Spoken Realms (https://www.spokenrealms.com/)DochubAdobe Document Cloud (Docusign) Document Manager (not name)Hiscox (business insurance)Gimlet Startup PodcastRadiotopia (for commercials model)Amanda Palmer TedSimon Sinek

Scooter and Austin Chat with Steven Jay Cohen of Spoken Realms Audio about contracts, business, and so much more! Spoken Realms (<a href="https://www.spokenrealms.com/)" rel="noopener nofollow" target="_blank">https://www.spokenrealms.com/)</a> Dochub Adobe Document Cloud (Docusign) Document Manager (not name) Hiscox (business insurance) Gimlet Startup Podcast Radiotopia (for commercials model) Amanda Palmer Ted Simon Sinek

150 - Contracts, Business, and You (feat. Steven Jay Cohen)

Joe Griffin

Dayn Leonardson

Scooter and Austin have a discussion about music in storytelling and Dayn Leonardson of Koach Studios and Broken Bard Studios tells us about the process he uses to compose for a show, and Joe Griffin of Wildclaw Theater tells us what is involved in composing for a live Audio Drama.

149 -  Music for Your Show (feat. Dayn Leonardson and Joe Griffin)

Dave Robison

In this episode, Austin talks to Dave Robison about Archivos, a world building program for storytelling. for more information visit https://archivos.digital/

In this episode, Austin talks to Dave Robison about Archivos, a world building program for storytelling. for more information visit <a href="https://archivos.digital/" rel="noopener nofollow" target="_blank">https://archivos.digital/</a>

148 - Talking ARCHIVOS (feat. Dave Robison)

We talk with KC Wayland about the dos and don’ts of building a studio in your home. We go from room design, sound treatment, to what we’ve done in our own home studios.LinksBombs Always Beep By KC WaylandTASCAM US-1800 Behringer Powerplay Gullifer Maine Anchorage FabricSafe’N’SoundFoam Factory - Acoustical FoamDyson Cool™ tower fan

We talk with KC Wayland about the dos and don’ts of building a studio in your home. We go from room design, sound treatment, to what we’ve done in our own home studios. Links Bombs Always Beep By KC Wayland TASCAM US-1800 Behringer Powerplay Gullifer Maine Anchorage Fabric Safe’N’Sound Foam Factory - Acoustical Foam Dyson Cool™ tower fan

147 - Building Your Home Studio (feat. Kc Wayland)

How to make fiction podcasts, radio plays, and audio fiction. The Audio Drama Production Podcast covers all aspects of writing, recording and creating Audio Drama. That means radio drama, audio fiction, radio plays, &amp; fiction podcasts.

Superb! Excellent! 
Where can we get the first 30 episodes?!

Fan frickin tastic!

I need all of this content, please keep it coming

Very Useful Info

Audio Drama Production Podcast

John Dryden

John Dryden is the man behind the Audio Drama that’s taking the world by storm at the moment. The epic Tumanbay.I wanted to ask John his thoughts on ‘Audiblegate‘, as well as find out exactly what he’d do if he was back in the position of being an aspiring Audio Dramatist once more.At the time of recording we’re still on a broken computer induced reduced service with the podcast. Normal service will hopefully resume next week. I

John Dryden is the man behind the Audio Drama that’s taking the world by storm at the moment. The epic Tumanbay. I wanted to ask John his thoughts on ‘Audiblegate‘, as well as find out exactly what he’d do if he was back in the position of being an aspiring Audio Dramatist once more. At the time of recording we’re still on a broken computer induced reduced service with the podcast. Normal service will hopefully resume next week. I

081 - Finding Your Style. With Tumanbay's John Dryden

If you’re planning to write a serialised Audio Drama there’s a lot to think about in terms of your wider story arcs, individual episodes, and characters.In the first of these ‘Writing for Audio Drama’ roundtable discussions, host Bryan Lincoln assembles a wealth of talent in Dave Robison (Roundtable Podcast), Eli McIlveen (Alba Salix), and Mike McQuilkin (Hadron Gospel Hour). The guys chat about their own experiences, and provide you with a goldmine of hints, tips, and advice towards writing and structuring your own series.

If you’re planning to write a serialised Audio Drama there’s a lot to think about in terms of your wider story arcs, individual episodes, and characters. In the first of these ‘Writing for Audio Drama’ roundtable discussions, host Bryan Lincoln assembles a wealth of talent in Dave Robison (Roundtable Podcast), Eli McIlveen (Alba Salix), and Mike McQuilkin (Hadron Gospel Hour). The guys chat about their own experiences, and provide you with a goldmine of hints, tips, and advice towards writing and structuring your own series.

069 - Writing for Audio Drama: Characters & Structure of a Series

Need a serialised epic fantasy drama in your life? Loved Cabin in the Woods? Then you should already be fans of The Once and Future Nerd. Fiona interviews Christian - Co-Creator, Executive Producer Director Editor and Writer extraordinaire of this fun and dramatic entertaining podcast. With advice on why you should totally love what you do in podcasting, why Tumblr as a community is important for podcasting, and why you should definitely join at least one of TOAFN communities! Be inspired! AND if you have ten million dollars to spare, feel free to help Christian make this series into a movie.....Click any of the links below for more info.This is the final episode of our 2017 Summer Season of Conception to Production interviews. Thank you to Travis Vengroff and Kaitlin Statz, Pacific Obidiah, James Oliva, Lindsay Harris-Friel, Lance Dann, Lindsay Graham, MJ Cogburn and of course Christian. We hope if you haven't listened to those interviews, you'll happily binge all at once now. So. Much. Talent! Please also tell us what you thought by reviewing us on APole Podcasts or send us an email. We're really keen to get us more wonderful proactive listeners......If you have an idea for a programme

Need a serialised epic fantasy drama in your life? Loved Cabin in the Woods? Then you should already be fans of The Once and Future Nerd. Fiona interviews Christian - Co-Creator, Executive Producer Director Editor and Writer extraordinaire of this fun and dramatic entertaining podcast. With advice on why you should totally love what you do in podcasting, why Tumblr as a community is important for podcasting, and why you should definitely join at least one of TOAFN communities! Be inspired! AND if you have ten million dollars to spare, feel free to help Christian make this series into a movie.....Click any of the links below for more info. This is the final episode of our 2017 Summer Season of Conception to Production interviews. Thank you to Travis Vengroff and Kaitlin Statz, Pacific Obidiah, James Oliva, Lindsay Harris-Friel, Lance Dann, Lindsay Graham, MJ Cogburn and of course Christian. We hope if you haven't listened to those interviews, you'll happily binge all at once now. So. Much. Talent! Please also tell us what you thought by reviewing us on APole Podcasts or send us an email. We're really keen to get us more wonderful proactive listeners...... If you have an idea for a programme

124 - The Once & Future Nerd: Conception to Production

If you've ever wondered if it's better for your audio drama writing to try a script writing programme with formatting or not then listen to this - part one of two on how active audio Drama professionals are using theirs. This episode focuses on The AMAazing Jack Ward's thoughts and experience of using Celtx, THee ENTHUSed Rob Patterson's writing background and use of Scrivener and THE WONNderful Ben Fort who sings the praises of Google Docs.Find links to our contributors here:JACK WARDhttp://sonicsociety.org/http://evicuna.com/https://m.facebook.com/The-Sonic-Society-140875182618949/Don't forget to check out Jack's Sonic Summerstock 2017- a collection of OTR made by a variety of talented creatives including John Bell, Rachel Rumler, Pete Lutz and Jack himself...ROB PATERSONBEN FORT@PDUPodhttp://publicdomainuniverse.com/SCRIPT WRITING PROGRAMMESCELTXSCRIVENERGOOGLE DOCSBBC WRITERS ROOM - LOADS OF LINKS - USE THEM ALLLLL!http://www.bbc.co.uk/writersroom/writers-labhttp://www.bbc.co.uk/writersroom/writers-lab/genre-toolkits/writing-radio-drama

If you've ever wondered if it's better for your audio drama writing to try a script writing programme with formatting or not then listen to this - part one of two on how active audio Drama professionals are using theirs. This episode focuses on The AMAazing Jack Ward's thoughts and experience of using Celtx, THee ENTHUSed Rob Patterson's writing background and use of Scrivener and THE WONNderful Ben Fort who sings the praises of Google Docs. Find links to our contributors here: JACK WARD <a href="http://sonicsociety.org/" rel="noopener nofollow" target="_blank">http://sonicsociety.org/</a> <a href="http://evicuna.com/" rel="noopener nofollow" target="_blank">http://evicuna.com/</a> <a href="https://m.facebook.com/The-Sonic-Society-140875182618949/" rel="noopener nofollow" target="_blank">https://m.facebook.com/The-Sonic-Society-140875182618949/</a> Don't forget to check out Jack's Sonic Summerstock 2017- a collection of OTR made by a variety of talented creatives including John Bell, Rachel Rumler, Pete Lutz and Jack himself... ROB PATERSON BEN FORT @PDUPod <a href="http://publicdomainuniverse.com/" rel="noopener nofollow" target="_blank">http://publicdomainuniverse.com/</a> SCRIPT WRITING PROGRAMMES CELTX SCRIVENER GOOGLE DOCS BBC WRITERS ROOM - LOADS OF LINKS - USE THEM ALLLLL! <a href="http://www.bbc.co.uk/writersroom/writers-lab" rel="noopener nofollow" target="_blank">http://www.bbc.co.uk/writersroom/writers-lab</a> <a href="http://www.bbc.co.uk/writersroom/writers-lab/genre-toolkits/writing-radio-drama" rel="noopener nofollow" target="_blank">http://www.bbc.co.uk/writersroom/writers-lab/genre-toolkits/writing-radio-drama</a>

114 - Script Writing Tools: Scene 1

Looking for a range of top notch expertise on a variety of script writing tools to add to your last eps knowledge?Look no further than HERE for pro advice from the AMAAZING Monique Boudreau of the EXCITING Aural Stage Studios, Alexander Danner of the consistently and AWESOMEly goood Greater Boston Podcast, and omg ENJOY the smooth beautiful tones of Maxximillian Dafoe of Mollyville and amongst other things Afterlife as she talks about several thrilling writing apps and programmes she uses.This should give you fuel to hunt around and find the best fit for your style of writing. Good luck and keep us posted on what you write! We're totally enthused and hunting out these newfound writing tools to try for ourselves. And for Patreons only, we offer as a bonus the full Maxximillian contribution experience - full access to her whole amazing monologue on script tools....contact us for more details or....become a Patreon for the perks!Next perk &gt;&gt;&gt;early access to the Austin Film Festival interview with Barbara Morgan.....EPISODE CONTRIBUTORS:&gt;&gt;&gt;MONIQUE BOUDREAU - AURAL SOUND STUDIOSwww.auralstage.com @auralstageWRITER DUETwww.writerduet.comCELTXhttps://www.celtx.com/index.html  TRELBYhttp://www.trelby.org FINAL DRAFThttps://www.finaldraft.comALEXANDER DANNER - GREATER BOSTONhttps://greaterbostonshow.com  @ingreaterbostonSCRIVENERhttps://www.literatureandlatte.com/scrivener.phpMAXXIMILLIAN DAFOE - MOLLYVILLE, AFTERLIFE AND

Looking for a range of top notch expertise on a variety of script writing tools to add to your last eps knowledge? Look no further than HERE for pro advice from the AMAAZING Monique Boudreau of the EXCITING Aural Stage Studios, Alexander Danner of the consistently and AWESOMEly goood Greater Boston Podcast, and omg ENJOY the smooth beautiful tones of Maxximillian Dafoe of Mollyville and amongst other things Afterlife as she talks about several thrilling writing apps and programmes she uses. This should give you fuel to hunt around and find the best fit for your style of writing. Good luck and keep us posted on what you write! We're totally enthused and hunting out these newfound writing tools to try for ourselves. And for Patreons only, we offer as a bonus the full Maxximillian contribution experience - full access to her whole amazing monologue on script tools....contact us for more details or....become a Patreon for the perks! Next perk &gt;&gt;&gt;early access to the Austin Film Festival interview with Barbara Morgan..... EPISODE CONTRIBUTORS:&gt;&gt;&gt; MONIQUE BOUDREAU - AURAL SOUND STUDIOS <a href="http://www.auralstage.com" rel="noopener nofollow" target="_blank">www.auralstage.com</a> @auralstage WRITER DUET <a href="http://www.writerduet.com" rel="noopener nofollow" target="_blank">www.writerduet.com</a> CELTX <a href="https://www.celtx.com/index.html" rel="noopener nofollow" target="_blank">https://www.celtx.com/index.html</a> TRELBY <a href="http://www.trelby.org" rel="noopener nofollow" target="_blank">http://www.trelby.org</a> FINAL DRAFT <a href="https://www.finaldraft.com" rel="noopener nofollow" target="_blank">https://www.finaldraft.com</a> ALEXANDER DANNER - GREATER BOSTON <a href="https://greaterbostonshow.com" rel="noopener nofollow" target="_blank">https://greaterbostonshow.com</a> @ingreaterboston SCRIVENER <a href="https://www.literatureandlatte.com/scrivener.php" rel="noopener nofollow" target="_blank">https://www.literatureandlatte.com/scrivener.php</a> MAXXIMILLIAN DAFOE - MOLLYVILLE, AFTERLIFE AND

115 - Script Writing Tools: Scene 2

There’s five things that are really important in the writing and production of quality Audio Drama, and they all begin with C.Conspiracy? Well, that does too.So what are the five Cs of making Audio Drama?Characters – your listener doesn’t want one-dimensional cardboard cutout characters. He/she wants you to make them friends and give them enemies.Cast – You need a cast to bring your characters to life. Build a small circle of people you like and trust to do a good job. Treat your cast with respect, and look after them as much as you can.Consistency – Getting stuff out there is important for building momentum and staying on the radar of your audience. Make sure your output is sustainable in relation to the time you have to make stuff.Community – Build relationships with people, make friends, help people, share your knowledge, learn from others, promote the shows you love, leave reviews, and collaborate on projects.Critique – Always seek to improve. Get honest feedback from others, and return the favor. Create a small ‘mastermind’ group where you can help each other to become better at what you do.

There’s five things that are really important in the writing and production of quality Audio Drama, and they all begin with C. Conspiracy? Well, that does too. So what are the five Cs of making Audio Drama? Characters – your listener doesn’t want one-dimensional cardboard cutout characters. He/she wants you to make them friends and give them enemies. Cast – You need a cast to bring your characters to life. Build a small circle of people you like and trust to do a good job. Treat your cast with respect, and look after them as much as you can. Consistency – Getting stuff out there is important for building momentum and staying on the radar of your audience. Make sure your output is sustainable in relation to the time you have to make stuff. Community – Build relationships with people, make friends, help people, share your knowledge, learn from others, promote the shows you love, leave reviews, and collaborate on projects. Critique – Always seek to improve. Get honest feedback from others, and return the favor. Create a small ‘mastermind’ group where you can help each other to become better at what you do.

090 - The Five Cs of Making Audio Drama

Writing dialogue is one of the most important things you’ll do when creating audio drama. Without it your story wouldn’t even exist. So what makes for ‘good’ dialogue, and how do you go about writing it? Eli McIlveen, creator of Alba Salix, Royal Physician gives his thoughts and opinions.We also answer a question on episode lengths. How long should your average episode be? Is there a generally accepted standard?And there’s more on the proposed 2016 UK Audio Drama Event, we’d really like to hear your opinions so please take a couple of minutes to fill out this short survey.

Writing dialogue is one of the most important things you’ll do when creating audio drama. Without it your story wouldn’t even exist. So what makes for ‘good’ dialogue, and how do you go about writing it? Eli McIlveen, creator of Alba Salix, Royal Physician gives his thoughts and opinions. We also answer a question on episode lengths. How long should your average episode be? Is there a generally accepted standard? And there’s more on the proposed 2016 UK Audio Drama Event, we’d really like to hear your opinions so please take a couple of minutes to fill out this short survey.

042 - Writing dialogue, episode lengths, & a UK Audio Drama event

There are tried and tested ways of growing your audience, none of which involve any short term or overnight routes to success. You can spend hours each week blasting links all over Facebook, Twitter, and other social media streams – but will anyone care, and does this really have any impact in the long run?People are far more likely to take an interest in what you do, when you’ve taken an interest in what they do. Making friends with people, interacting with them, and sharing their content (as well as your own) is far more likely to lead to you reaching new people and increasing your audience.Avoid ‘cold call’ style mass tweets to people asking for listens, RTs, donations etc. Instead, treat social media as a conversation. There’s absolutely nothing wrong with sharing links to your work, but make sure it isn’t the only thing you’re doing. If you copy and paste the same link into 15 different Facebook groups, are you active in each of these groups? Or are you only there to act like a digital billboard?

There are tried and tested ways of growing your audience, none of which involve any short term or overnight routes to success. You can spend hours each week blasting links all over Facebook, Twitter, and other social media streams – but will anyone care, and does this really have any impact in the long run? People are far more likely to take an interest in what you do, when you’ve taken an interest in what they do. Making friends with people, interacting with them, and sharing their content (as well as your own) is far more likely to lead to you reaching new people and increasing your audience. Avoid ‘cold call’ style mass tweets to people asking for listens, RTs, donations etc. Instead, treat social media as a conversation. There’s absolutely nothing wrong with sharing links to your work, but make sure it isn’t the only thing you’re doing. If you copy and paste the same link into 15 different Facebook groups, are you active in each of these groups? Or are you only there to act like a digital billboard?

066 - How to Promote Your Show & Grow Your Audience

Hello! We have fabulous contributions from a number of wonderful audio creatives who spend hours of fun time directing Voice Actors. What does a director of audio work actually do? We find out with varying degrees of success, hints and tips with help from:Ed Champion, creator and producer of The Gray Area.Eli McIlveen writer, creator and Sean Howard producer and co-creator of Alba Salix, Royal Physician.Hari Rai Khalsa, Producer and Director of Radiation World.Pete Lutz - Writer, Producer, Director Actor, Publicist, Sound designer, maker of t-shirts for Narada Radio Company.So what are the kind of things you can expect a Director of an Audio Drama Or Comedy to do? Provide snacks? A back massage now 'n then? Promise no violence? Yes to all of these. Definitely more snacks. Mmmmm Chocolate Digestives..There's a lot to be said for those who take the time to communicate with these wonderful strange beasts known as actors, and give them a ballpark to aim for - especially if they're remote/satellite. How does directing folks in a room differ from directing someone through an earpiece in a different continent, or four actors in different time zones using source connect? Why is saying 'Do Irish' not totally acceptable? Have a listen and feel free to communicate with us how YOU work. Or let us know if this podcast has been useful....We'd LOVE to hear from you....Fiona and SarahResources &amp; Other LinksSource Connect NowSlackGoogle Hangouts

Hello! We have fabulous contributions from a number of wonderful audio creatives who spend hours of fun time directing Voice Actors. What does a director of audio work actually do? We find out with varying degrees of success, hints and tips with help from: Ed Champion, creator and producer of The Gray Area. Eli McIlveen writer, creator and Sean Howard producer and co-creator of Alba Salix, Royal Physician. Hari Rai Khalsa, Producer and Director of Radiation World. Pete Lutz - Writer, Producer, Director Actor, Publicist, Sound designer, maker of t-shirts for Narada Radio Company. So what are the kind of things you can expect a Director of an Audio Drama Or Comedy to do? Provide snacks? A back massage now 'n then? Promise no violence? Yes to all of these. Definitely more snacks. Mmmmm Chocolate Digestives.. There's a lot to be said for those who take the time to communicate with these wonderful strange beasts known as actors, and give them a ballpark to aim for - especially if they're remote/satellite. How does directing folks in a room differ from directing someone through an earpiece in a different continent, or four actors in different time zones using source connect? Why is saying 'Do Irish' not totally acceptable? Have a listen and feel free to communicate with us how YOU work. Or let us know if this podcast has been useful.... We'd LOVE to hear from you.... Fiona and Sarah Resources &amp; Other Links Source Connect Now Slack Google Hangouts

111 - Directing Voice Actors

The dilemma faced by all audio drama creators at some stage is whether they should make a serialised story, or an anthology series.Here we give examples of two of our favourite serial dramas, Edict Zero FIS, and We’re Alive, and two of our favourite anthology series’, The Truth, and Campfire Radio Theater. We go on to cover the advantages and disadvantages of each method, as well as offering our own opinions, and revealing details of our first steps into a post-Aftermath series of our own (but will it be an anthology or a serial?).

The dilemma faced by all audio drama creators at some stage is whether they should make a serialised story, or an anthology series. Here we give examples of two of our favourite serial dramas, Edict Zero FIS, and We’re Alive, and two of our favourite anthology series’, The Truth, and Campfire Radio Theater. We go on to cover the advantages and disadvantages of each method, as well as offering our own opinions, and revealing details of our first steps into a post-Aftermath series of our own (but will it be an anthology or a serial?).

044 - Should I make a serial or anthology audio drama series?

The Sonic Society‘s Jack Ward returns to the show, looking to break down and analyse the nuts and bolts of what makes up an audio story, and what forms that story can take. The segment features clips from Gate, The Champion, Searcher &amp; Stallion, Black Jack Justice, Crazy Dog Audio, Teknikal Diffikulties, Gusu, and Cosmo &amp; Robetta. As well as being featured in audio form, you can also find a full transcript of Jack’s piece, below.And remember to look out for part 2, which will be featured on episode 47 of this humble podcast.

The Sonic Society‘s Jack Ward returns to the show, looking to break down and analyse the nuts and bolts of what makes up an audio story, and what forms that story can take. The segment features clips from Gate, The Champion, Searcher &amp; Stallion, Black Jack Justice, Crazy Dog Audio, Teknikal Diffikulties, Gusu, and Cosmo &amp; Robetta. As well as being featured in audio form, you can also find a full transcript of Jack’s piece, below. And remember to look out for part 2, which will be featured on episode 47 of this humble podcast.

045 - What makes an audio story?

The music you use can make or break your production, so it’s about time we talked about it on the podcast. On this episode, a household name in Audio Drama – the legendary Kevin MacLeod of incompetech.com – joins us to chat about the creative commons model, his workload, and the ways you can potentially commission him in the future to score your own shows.On top of that, we’ve brought another great composer to the table, friend of the show, the tirelessly prolific Kevin Hartnell. You’ll have probably heard his work already in some recent Campfire Radio Theater shows, and he’s already created a big library of music for our up and coming anthology series Valenhigh.Some of the things mentioned on the show, Kevin McLeod’s Patreon account. GLS microphones. And the fact that we’ve turned Tuesdays into “Reviewsdays” to encourage you to take a few minutes each week to rate and review your favourite audio drama shows on directories like iTunes and Stitcher.

The music you use can make or break your production, so it’s about time we talked about it on the podcast. On this episode, a household name in Audio Drama – the legendary Kevin MacLeod of <a href="http://incompetech.com" rel="nofollow" target="_blank">incompetech.com</a> – joins us to chat about the creative commons model, his workload, and the ways you can potentially commission him in the future to score your own shows. On top of that, we’ve brought another great composer to the table, friend of the show, the tirelessly prolific Kevin Hartnell. You’ll have probably heard his work already in some recent Campfire Radio Theater shows, and he’s already created a big library of music for our up and coming anthology series Valenhigh. Some of the things mentioned on the show, Kevin McLeod’s Patreon account. GLS microphones. And the fact that we’ve turned Tuesdays into “Reviewsdays” to encourage you to take a few minutes each week to rate and review your favourite audio drama shows on directories like iTunes and Stitcher.

049 - Composing Music for Audio Drama

When you plan out a story or write a script you will begin to introduce characters. These characters need to have lived their entire lives up until the point where they arrive in your story. You may want to establish these details in advance, as this can help guide you when it comes to finding out how they’ll act towards others, how they’ll react to situations, what their main motivations are, and why.So how can you go about fleshing out your characters? Here are some tipsMake a checklist!Ways to expand your character; Fill out a questionnaire – lots onlineTry to imagine their possessions – what and why?Things to consider; Physical/Aesthetic CharacteristicsCharacter Beliefs and core valuesLikes and Dislikes Strengths and FLAWSWhat’s their full history? Family and friends, as well as enemiesRomance Upbringing and educationBest and worst moments in their livesFoibles Unusual laughHums whilst thinkingMimics othersDoesn’t understand `personal space`Pedantic Bites fingernails or OCD

When you plan out a story or write a script you will begin to introduce characters. These characters need to have lived their entire lives up until the point where they arrive in your story. You may want to establish these details in advance, as this can help guide you when it comes to finding out how they’ll act towards others, how they’ll react to situations, what their main motivations are, and why. So how can you go about fleshing out your characters? Here are some tips Make a checklist! Ways to expand your character; Fill out a questionnaire – lots online Try to imagine their possessions – what and why? Things to consider; Physical/Aesthetic Characteristics Character Beliefs and core values Likes and Dislikes Strengths and FLAWS What’s their full history? Family and friends, as well as enemies Romance Upbringing and education Best and worst moments in their lives Foibles Unusual laugh Hums whilst thinking Mimics others Doesn’t understand `personal space` Pedantic Bites fingernails or OCD

072 - Fleshing Out Your Characters

Hello! Interested in voice acting and wanting to know more, or already doing it but looking to take it up a level or more? What training opportunities are there? Where do you find jobs? How do you prepare a script, warm up, work well with your colleagues and director? What other fields do voice actors work in? We bombard this week's guests with such questions and, resilient folk that they are, they come back with some great insights and invaluable advice.The world of voice acting for audio drama is such a varied one, we have divided it into two acts. Here, in Act 1, we had the great pleasure of talking to three professional actors:David Ault has been quite prolific in audio drama over the last decade. He is currently working in The No Sleep PodcastErika Sanderson was an established stage actor before coming to audio drama. She now features in The No Sleep PodcastBeth Eyre is a voice actor probably best known for her role as Antigone Funn in Wooden Overcoats, as well as working for The Wireless Theatre Company. She also has a range of experience, from BBC productions to theatre acting too.Some of the many places to find voice acting roles:Casting Call ProVoices ProAudio Drama Auditions Facebook GroupAn excellent

Hello! Interested in voice acting and wanting to know more, or already doing it but looking to take it up a level or more? What training opportunities are there? Where do you find jobs? How do you prepare a script, warm up, work well with your colleagues and director? What other fields do voice actors work in? We bombard this week's guests with such questions and, resilient folk that they are, they come back with some great insights and invaluable advice. The world of voice acting for audio drama is such a varied one, we have divided it into two acts. Here, in Act 1, we had the great pleasure of talking to three professional actors: David Ault has been quite prolific in audio drama over the last decade. He is currently working in The No Sleep Podcast Erika Sanderson was an established stage actor before coming to audio drama. She now features in The No Sleep Podcast Beth Eyre is a voice actor probably best known for her role as Antigone Funn in Wooden Overcoats, as well as working for The Wireless Theatre Company. She also has a range of experience, from BBC productions to theatre acting too. Some of the many places to find voice acting roles: Casting Call Pro Voices Pro Audio Drama Auditions Facebook Group An excellent

112 - The Voice Acting Guide: Act 1

Unless your entire cast are working remotely, you’re going to need a place to record your Audio Dramas. There’s no ‘one size fits all’ answer here, and there are a lot of factors that come into play. You’ll have many things to take into consideration regardless of where you plan to set up your ‘studio’, and that’s the purpose of this episode.Recording at HomeYou need to decide if you’re purely focused on recording voices, or if you’re working ‘around the mics’If it’s the former, you’ll want sound dampened conditions. This will benefit your audio quality in post-production.Are you setting up a permanent or semi-permanent studio?External walls can be an issue. Is your neighbour a drummer?Windows – do you have a busy road or environment outside?Does the floor creak when you walk around?Internal noise, are you in cupboard with boiler or gas meter?Other noises around the home, like the fridge. Try Ric Viers car keys tip.Equipment – Focusrite Scarlett 2i2, or for multiple actors, M-Audio M-Track 8, SM58 microphones.Field/Location RecordingThe great outsdoors are free to use. Working on location offers a great natural soundscape built in to your recordings.Choose sites with your ears, not your eyes.Take as many provisional sound samples as you can.Roads – look for natural barriers (trees, conifer hedgerows)Site visits – consider midweek and weekend differences.Weather – how exposed are you?Cheap or affordable gear – Zoom H1, ATR3350 lav mics (upgrade to Zoom H4 or recorder with ¼” inputs for more control)Hiring a Studio or Rehearsal SpaceCosts money, but can give session a sense of professionalism. What should you consider?Does it have a dead room or sound dampened conditions?Does hire include engineer?Does hire include equipment?Is there a band playing in the room next door?Equipment – vocal condenser micsOther OptionsSchool, college, community center, churchAlso mentioned in this episode.Alien: Out of the Shadows, We’re Alive: Lockdown, Archive 81, The Longest Podcast In The World.

Unless your entire cast are working remotely, you’re going to need a place to record your Audio Dramas. There’s no ‘one size fits all’ answer here, and there are a lot of factors that come into play. You’ll have many things to take into consideration regardless of where you plan to set up your ‘studio’, and that’s the purpose of this episode. Recording at Home You need to decide if you’re purely focused on recording voices, or if you’re working ‘around the mics’ If it’s the former, you’ll want sound dampened conditions. This will benefit your audio quality in post-production. Are you setting up a permanent or semi-permanent studio? External walls can be an issue. Is your neighbour a drummer? Windows – do you have a busy road or environment outside? Does the floor creak when you walk around? Internal noise, are you in cupboard with boiler or gas meter? Other noises around the home, like the fridge. Try Ric Viers car keys tip. Equipment – Focusrite Scarlett 2i2, or for multiple actors, M-Audio M-Track 8, SM58 microphones. Field/Location Recording The great outsdoors are free to use. Working on location offers a great natural soundscape built in to your recordings. Choose sites with your ears, not your eyes. Take as many provisional sound samples as you can. Roads – look for natural barriers (trees, conifer hedgerows) Site visits – consider midweek and weekend differences. Weather – how exposed are you? Cheap or affordable gear – Zoom H1, ATR3350 lav mics (upgrade to Zoom H4 or recorder with ¼” inputs for more control) Hiring a Studio or Rehearsal Space Costs money, but can give session a sense of professionalism. What should you consider? Does it have a dead room or sound dampened conditions? Does hire include engineer? Does hire include equipment? Is there a band playing in the room next door? Equipment – vocal condenser mics Other Options School, college, community center, church Also mentioned in this episode. Alien: Out of the Shadows, We’re Alive: Lockdown, Archive 81, The Longest Podcast In The World.

088 - Finding & Creating Recording Environments

We’ve been listening to some great podcasts recently – most notably, The Black Tapes, and brand new show The Message (by the way, check out the story behind this one). These shows are audio fiction for sure, but the term docudrama probably suits them best. In this episode we take a look at inner workings of docudrama-style podcasts, and ask ourselves questions like; blacktapesAre these shows more accessible to first time listeners than traditional Audio Drama?Is creating this style of show a better option for you, if your main interest lies in writing, rather than heavy production?How can creators of docudrama shows find ways around “reported action”, and should they even need to?We then move on to the topic of the month – Locke &amp; Key. We talked with Fred Greenhalgh last week about creating this wonderful Audio Drama, this week we look at a small minority of negative comments the show has received in Audible’s reviews section.The reason we bring this up is that much of these comments are judging an Audio Drama on the fact that it isn’t an Audiobook, and not on actually judging the overall quality of the story, acting, and production.In the main, Locke &amp; Key has been marketed as an Audiobook. Is this part of the problem? And does this mean Audio Drama might actually benefit from being ‘rebranded’ with a new name?

We’ve been listening to some great podcasts recently – most notably, The Black Tapes, and brand new show The Message (by the way, check out the story behind this one). These shows are audio fiction for sure, but the term docudrama probably suits them best. In this episode we take a look at inner workings of docudrama-style podcasts, and ask ourselves questions like; blacktapes Are these shows more accessible to first time listeners than traditional Audio Drama? Is creating this style of show a better option for you, if your main interest lies in writing, rather than heavy production? How can creators of docudrama shows find ways around “reported action”, and should they even need to? We then move on to the topic of the month – Locke &amp; Key. We talked with Fred Greenhalgh last week about creating this wonderful Audio Drama, this week we look at a small minority of negative comments the show has received in Audible’s reviews section. The reason we bring this up is that much of these comments are judging an Audio Drama on the fact that it isn’t an Audiobook, and not on actually judging the overall quality of the story, acting, and production. In the main, Locke &amp; Key has been marketed as an Audiobook. Is this part of the problem? And does this mean Audio Drama might actually benefit from being ‘rebranded’ with a new name?

065 - The Rise of the Docudrama. Audiobook Confusion on Audible

One of the toughest challenges when you begin producing Audio Drama is looking at ways to bring in multiple pieces of dialogue, recorded by different actors, on different mics, in different conditions, and set them to play at a consistent volume level. Dialogue tracks recorded on the quiet side will often need to be amplified considerably, and this can bring up a lot of background noise that makes these segments blocks of hiss. Dialogue_LevelsIn this episode we talk about the sound levels of your dialogue, touching on the decibel scale, which you and your DAW will use to measure the volume of your audio. We find that looking to peak at around -6db during recording offers us decent headroom in post-production, where we’ll usually then look to bring the peaks up to -2db or -3db. It isn’t always as simple as that though, you could have an actor whispering and shouting in the same scene, so use tools like your Hard Limiter to snip the peaks off these loud parts and bring the quieter audio closer to them.Noise reduction, when used liberally, can minimise a lot of the background hiss on segments you’ve had to amplify, but be careful not to distort the sound of your dialogue and give it that horrible underwater effect. Use a subtle fade in on each segment, and layer your entire show with one big track of roomtone to blend everything together.We also like to listen to finished shows on as many different formats as possible. On a phone through earbuds, through the car stereo, and even through the laptop speakers. Always consider where your listeners are consuming your Audio Drama – unfortunately it’ll seldom be on a nice pair of headphone like the set you used to put it together with.And it should go without saying, but listen with your ears. Never do a final listen-through sitting staring at your DAW. If you do this, you are visualising what you see, and making it harder for your brain to pick up on things that aren’t quite working. Go out for a walk and listen, or at least close your eyes.

One of the toughest challenges when you begin producing Audio Drama is looking at ways to bring in multiple pieces of dialogue, recorded by different actors, on different mics, in different conditions, and set them to play at a consistent volume level. Dialogue tracks recorded on the quiet side will often need to be amplified considerably, and this can bring up a lot of background noise that makes these segments blocks of hiss. Dialogue_Levels In this episode we talk about the sound levels of your dialogue, touching on the decibel scale, which you and your DAW will use to measure the volume of your audio. We find that looking to peak at around -6db during recording offers us decent headroom in post-production, where we’ll usually then look to bring the peaks up to -2db or -3db. It isn’t always as simple as that though, you could have an actor whispering and shouting in the same scene, so use tools like your Hard Limiter to snip the peaks off these loud parts and bring the quieter audio closer to them. Noise reduction, when used liberally, can minimise a lot of the background hiss on segments you’ve had to amplify, but be careful not to distort the sound of your dialogue and give it that horrible underwater effect. Use a subtle fade in on each segment, and layer your entire show with one big track of roomtone to blend everything together. We also like to listen to finished shows on as many different formats as possible. On a phone through earbuds, through the car stereo, and even through the laptop speakers. Always consider where your listeners are consuming your Audio Drama – unfortunately it’ll seldom be on a nice pair of headphone like the set you used to put it together with. And it should go without saying, but listen with your ears. Never do a final listen-through sitting staring at your DAW. If you do this, you are visualising what you see, and making it harder for your brain to pick up on things that aren’t quite working. Go out for a walk and listen, or at least close your eyes.

061 - Setting Dialogue Volume Levels, & Roomtone

If you want to build a business, earn a bit of extra pocket money, or even just get creative and have fun with audio fiction, there are other ways to do so outside of the traditional podcasting method.Our guests on this weeks show, Iain Manley (VoiceMap) and Adele Kirby (Imagineactive Audio Fitness Adventures), have created two very different, but equally innovative audio apps based around their own passions and interests. Both use audio to tell stories, so whether that’s guiding you on factual or fictional tours around towns or cities, or training you to survive an alien invasion and impending apocalypse, you know you’re going to be entertained in a very different way than simply sitting back with your headphones on.You can get involved with VoiceMap yourself by creating a route with them, just like we did. Or maybe you have some ideas on how you can use your skills as a writer, producer, or voice actor to create some sort of interactive audio app of your own.

If you want to build a business, earn a bit of extra pocket money, or even just get creative and have fun with audio fiction, there are other ways to do so outside of the traditional podcasting method. Our guests on this weeks show, Iain Manley (VoiceMap) and Adele Kirby (Imagineactive Audio Fitness Adventures), have created two very different, but equally innovative audio apps based around their own passions and interests. Both use audio to tell stories, so whether that’s guiding you on factual or fictional tours around towns or cities, or training you to survive an alien invasion and impending apocalypse, you know you’re going to be entertained in a very different way than simply sitting back with your headphones on. You can get involved with VoiceMap yourself by creating a route with them, just like we did. Or maybe you have some ideas on how you can use your skills as a writer, producer, or voice actor to create some sort of interactive audio app of your own.

046 - Creating interactive audio fiction, & fantasy character accents

Remember the who, the what, the where, the when, and the why. “The microphone, in addition to being the ears of the listener, is where all the action takes place. In stage theater it would be the spotlight; in films and television it would be the camera; but in audio theater it’s the all-hearing, all-seeing microphone. All seeing microphone? Of course, in the audio theater it’s what the audience hears that influences what the audience’s imagination sees. (The Audio Theater Guide, Robert L. Mott, p.85)Direct DownloadTelling your story through sound means you have some choices to make during the writing stages. Which character or characters will the listener follow and remain with throughout? Which ‘shots’ will you use in each scene, and why? Steve Schneider returns to pose these questions, and play some clips to help demonstrate his points. These include The Rats in the Walls, Julie Hoverson’s adaptation of the HP Lovecraft story for 19 Nocturne Boulevard. The Truth are featured, in the form of The Mutiny, and Bathysephere, by Chatterbox Audio Theater. On top of that, you can find some more clips which demonstrate this point in our episode about scene and location transitions.

Remember the who, the what, the where, the when, and the why. “The microphone, in addition to being the ears of the listener, is where all the action takes place. In stage theater it would be the spotlight; in films and television it would be the camera; but in audio theater it’s the all-hearing, all-seeing microphone. All seeing microphone? Of course, in the audio theater it’s what the audience hears that influences what the audience’s imagination sees. (The Audio Theater Guide, Robert L. Mott, p.85) Direct Download Telling your story through sound means you have some choices to make during the writing stages. Which character or characters will the listener follow and remain with throughout? Which ‘shots’ will you use in each scene, and why? Steve Schneider returns to pose these questions, and play some clips to help demonstrate his points. These include The Rats in the Walls, Julie Hoverson’s adaptation of the HP Lovecraft story for 19 Nocturne Boulevard. The Truth are featured, in the form of The Mutiny, and Bathysephere, by Chatterbox Audio Theater. On top of that, you can find some more clips which demonstrate this point in our episode about scene and location transitions.

040 - Using perspective to tell your story

In this packed episode, we hear from some amazingly inspiring active creative audio drama producers re: their favourite DAW. There are hints and tips and why people prefer one DAW over another. Thank you SO MUCH to the very talented Raul Vega (Rose Drive, PRO TOOLS) Edward Champion (Gray area, REAPER), Matthew McLean (A Scottish Podcast/Yap Audio, ADOBE AUDITION), Rick Cost (Fiona Potts interview, HINDENBURG) Travis Vengroff (Liberty Podcast, MIXCRAFT).Sarah does 'singing'. Fiona does spiel about punch and rolling. What's not to like?

In this packed episode, we hear from some amazingly inspiring active creative audio drama producers re: their favourite DAW. There are hints and tips and why people prefer one DAW over another. Thank you SO MUCH to the very talented Raul Vega (Rose Drive, PRO TOOLS) Edward Champion (Gray area, REAPER), Matthew McLean (A Scottish Podcast/Yap Audio, ADOBE AUDITION), Rick Cost (Fiona Potts interview, HINDENBURG) Travis Vengroff (Liberty Podcast, MIXCRAFT). Sarah does 'singing'. Fiona does spiel about punch and rolling. What's not to like?

109 - DAWs | What's the Best Audio Production Software?

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